Festival continues from the 6th of September to the 21st of September 2025

Dublin Fringe Festival is a curated, multidisciplinary arts festival and a year-round artist support organisation. We create a framework for artistic risk, offering opportunities for artists to challenge and invigorate their practice, and extend the possibilities of what art can be. We seek out and present contemporary, playful and provocative new work made by Irish and international artists of vision in an annual celebration all over the city.

From form-busting theatre productions, electric dance performance, immersive installations to epic party nights out, every event is curated to ignite your mind and leave an indelible mark on your soul.

Dublin Fringe Festival 2025 takes place from Saturday 6 – Sunday 21 September 2025. 

Clare Arts Office in conjunction with Cultúrlann Sweeney Library Gallery is delighted to present “All The Things”, Art Exhibition by Julie O’Gorman.

Julie is a self-taught artist from Kilkee who loves working with all kinds of mediums — whatever feels right in the moment.

From paint to shells to anything in between, she sees each piece as an opportunity to experiment and play.

“All the Things” is a reflection of that spirit: a mix of concepts, colours and textures that come together simply because she loves creating.

This exhibition has something for everyone…

Exhibition continues from the 7th of September to the 3rd of October 2025

The Olivier Cornet Gallery is delighted to present Eoin Mac Lochlainn’s new solo exhibition:

An ghaoth aniar / This too will pass

“I’ve been increasingly concerned about nature and Climate Change in recent years and, in particular, I am examining the effects of wind and rain on old fence posts. Why fence posts? We humans have been building fences and partitioning the earth for centuries, creating borders and believing that we are in control of the earth…”
Eoin Mac Lochlainn

Opening by Catherine Connolly TD, 3pm, Sunday 7 September 2025.
Poet Geraldine Mitchell to read her poem ‘Keepers’.

Exhibition continues from the 4th of September to the 31st of October 2025

In her exhibition, open for Late Night Art Belfast this Thursday 4 September, Alexander interprets Aristotle’s imagining the cosmos as 56 celestial spheres by creating a series of acrylic sketches on linen. Each fragment invites a shift in perspective, exploring in-between spaces, identity beyond the body, and our place in the universe – a constellation of moments that ask who we are, and how we find meaning.

Jennifer Alexander is a visual artist and curator from Scotland, currently based in Northern Ireland. Her practice investigates the interplay between perception and stratification.

Exhibition continues from the 4th of September to the 11th of October 2025

Brigitte Mulholland is thrilled to present Niamh O’Malley’s first solo exhibition with the gallery. O’Malley, (b. 1975, Mayo, Ireland) currently lives and works in Dublin and has had numerous solo exhibitions internationally, including the Irish Pavilion at the 59th Venice Art Biennale in 2022. Her sculptures make tangible the act of trying: trying to grasp a certain slant of light, to contemplate the enormity of a landscape, to hold moments still. This exhibition features sculptures made of steel, wood, and glass, as well as a film. In the gallery’s Salon, the artist presents a separate series of works made of graphite and watercolour on panel, which serve as a complement to (and sometimes studies for) her sculptures and their forms.

O’Malley’s glass sculptures are composed of shards of glass that are cut, wrapped in copper foil, and soldered together into configurations that protrude gently from the wall, both casting and holding light. Glass, with its implicit translucence and fragility, also embodies a state of solidity: a material with its own depth and colour, it can be looked at, as well as looked through. While there is a lack of surface absorption in the glass, the panels stand in contrast: dark, opaque surfaces that retain marks and memory. Each of them is embedded with the artist’s hand: scribbling, sanding, and moulding the edges with her fingers.

A number of Shelf works are included, which gather many of the sculptural materials O’Malley employs: wood, glass, and metal. The shelf becomes the ground and support of her compositions, facilitating the careful – yet simultaneously barely tethered – arrangement of components, eliciting both a strength and a delicate tension. Other sculptures in the exhibition include Leafs, where long, slender steel rods protrude from hammered steel shapes, part foliage, part strange, elegant weights. In Eye, two thin sheets of raw steel are folded into overhangs – each with cutouts that resemble soft fingers or lashes, and each sheltering a sun of amber glass. The stark solidity of the grey steel contrasts, yet complements, the fragile glow of the glass. The film offers viewers another kind of touch – its material enquiry bringing us back into a kinetic reality where the hand and the eye scan and search and seek form and solidity.

While her practice may seem visually diverse, O’Malley uses a small repertoire of materials whose nature and limitations have, over time, become a formative part of her artistic process. She is interested in what attracts our attention and why; in how we move our bodies towards particular views or situations; in how we look at, frame, and touch the chaos of the world. As Lizzie Lloyd noted in her text for the Venice Biennale: “O’Malley’s objects are replete with edges that outline, overlap, and neighbour other edges. Their meeting points accentuate buffed, pitted, powdered and polished surfaces over which our eye catches and slips…Hers is a material inquiry but with social and political implications built on necessary contingencies in which one part depends on another.”

With many thanks to Culture Ireland for its support of this exhibition.

Exhibition continues from the 5th of September to the 30th of September 2025

Discover ‘Ink + Earth,’ a month long exhibition by pen and watercolour artist, Alison McEvoy.
After a sell-out show in 2024, Abbeyleix Library will once again host this exhibition for September 2025.
Alison uses pen, watercolour, chalk and oil pastel to create artwork that captures the natural beauty of the bog.
This collection, which marks her second solo exhibition, features her favourite trees and scenic locations around Abbeyleix Bog.
Each piece in the collection provides an intimate glimpse into the landscapes that inspire her, showcasing the weird and wonderful trees on the bog.

Exhibition continues from the 6th of September to the 1st of November 2025

The point of departure for this exhibition was Mandy O’Neill’s recent practice-based PhD, where she examined the social and material implications of housing development and dereliction in the Dublin inner suburb of Cabra. Her research questioned the ideological shifts in housing policy since the mid 20th century in Ireland which have resulted in a move from housing as public good to housing as commodity, with emphasis on the impact of planning. In a broader context O’Neill’s practice is concerned with the politics of space and place, and the power relations which shape our built environment

Exhibition continues from the 6th of September to the 1st of November 2025

Rooted in the beauty of the west of Ireland, The Push and Pull explores the dualities of motherhood – the tenderness and tension, the giving and the grieving, the fierce love and quiet loss of self. Through a series of intimate, textured works, the artist captures the emotional rhythms of raising children: moments of connection stretched thin by the demands of care, identity, and time. This body of work invites viewers into the ebb and flow of maternal experience, where nature, body, and memory collide.

Exhibition continues from the 4th of September to the 27th of September 2025

In Autumn 2025 Lavit Gallery launches a new group exhibition format focusing on a selection of new work by artists working across the Island of Ireland.
John Behan, Tom Climent, Cecilia Danell, Nuala O’Donovan, Deirdre Frost, Kaye Maahs, Samir Mahmood, Louise Neiland, Martha Quinn, Jennifer Trouton, Dominic Turner, Amna Walayat, Conor Walton. Curated by Brian Mac Domhnaill.
Exhibition Tours: Collecting Art, Saturday 13 September, 12pm | Culture Night, Friday 19 September

Exhibition continues from the 5th of September to the 3rd of October 2025

Senga Sharkey – ‘Somewhere Between Two Extremes’ and Sylvia Thirlway – ‘Elemental Spaces’

Senga Sharkey explores a delicate artistic balance between abstract and the familiar. Her exhibition emphasises the power of storytelling, in both semi-abstract and fully abstract style, memories, feelings and imagination are transformed with colourful textured mediums, collage, acrylic and mixed media.

Sylvia Thirlways’ exhibition is inspired by the state of the planet and the way many societies have forgotten how to value the natural world and all its wonders. Sylvia discovered her love of oils, as it blends and flows over differing surfaces, including wood panels and canvas boards.

Exhibition continues from the 4th of September to the 30th of September 2025

From an early age, Kyrre Mogster has been interested in the details and patterns in nature and everyday life. Born in Stord, Norway in 1985, he lived within a community of fisherfolk until age 7, when he moved with his family to Seattle, USA. His point of departure might be a remote fjord in Norway, but his work glides throughout art history, onboarding the nuance of landscape and society and lands with a vitality and confidence that can only be achieved by coming home after a long and arduous journey.

Exhibition continues from the 6th of September to the 13th of September 2025

Beasts of the Modern Age — Exhibition Launch
Áras Na nGael | Sept 6, 2–4pm | Open daily 10–5
Red Bird Youth Collective presents Beasts of the Modern Age, where Irish myths are reimagined through poetry, art, and storytelling. Guided by artists Taim Haimet & Jojo Hynes, and coordinated by Soňa Šmédková, young voices revive guardians of land, sea & sky echoing themes of nature, memory & imagination. From forest warnings to ocean spirits, their work captures wonder & fragility. Join us to celebrate creativity and the voices of a new generation.

Join us for an in conversation with exhibiting artist Mohammed Sami and Dr. Georgina Jackson, Director at The Douglas Hyde, on the occasion of Sami’s solo exhibition To Whom It May Concern.

To Whom It May Concern is Sami’s first solo exhibition in Ireland and brings together a group of major new canvases, alongside a selection of paintings made over the last five years. Mining personal experiences to ground his work and influenced by Arabic literature and poetry, Sami replaces images of trauma with oblique references to loss or conflict.

Please note that photography and recording are not permitted at the talk.

Exhibition continues from the 7th of September to the 27 of September 2025

In this body of work, Cork based visual artist Ben Reilly transforms the Courthouse Gallery Into an immersive sculptural forest like landscape. Welded and carved limbs stretching skyward and a floating life raft swaying through the gallery all of which are Responding to the gallery’s height and natural light.

Drawing from beach combing excursions around the coastal landscape of West Cork, Reilly integrates found and foraged materials, reflecting themes of reuse and ecological connection. His process – part instinct, part experimentation—blurs the line between control and spontaneity.

Join us for Communities of Practice, a gathering that invites those working with communities and the public to share experiences, challenges and strategies with one another, encouraging connection across the sector in the North West. This session will continue conversations from the first session, which looked at collaboration as a potential site of tension, divergences and resistance. Together, we will continue these open conversations and discuss the ways in which we are seeking long-term, equitable working with communities and artists within engagement practice.

Artist Marie Brett is bringing her acclaimed Yes, But Do You Care? piece to Monaghan town on Wednesday 10 Sept. showing as a screening and discussion event at The Arts Office, Market House, 3pm (free entry).

The Yes, But Do You Care? creatively reimagines the human right to make a bad decision, the ethics of family care-giving, and Ireland’s new capacity legislation.
Held in IMMA’s National Art Collection, this highly evocative piece spans the visuals of human body metaphor, with a bespoke soundscape of human testimony and legal mumbo jumbo.

The tour has been funded by the Arts Council

Unmasking Nature – Foraging for senses: a rich outdoor journey shaped by the beautiful ways minds move through the world

A sensory walking event co-created by a community of cross-border neurodivergent collaborators, led by artist AlanJames Burns.

All are invited to Unmasking Nature’s once-off, free event exploring joyful ways of engaging with the natural world. Co-designed with neurodivergent people who came together as a community over several months, the walk route takes inspiration from their special interests, and is created with disabled participants in mind. Opportunities to experience their creative responses to the site include “deep dive” information points, in addition to the insights of professionals and experts in the areas of fungi, food foraging and biophilia.

At its core, Unmasking Nature asks, “What does it mean to be neurodivergent in nature?”. Across this event we celebrate people’s connection to nature through stimming and emotional cartography. By embracing feel-good, intuitive explorations to the geopark’s deeply interconnected sensory landscape, the project invites event participants to engage with themes such as biodiversity and more-than-human communication (including with plants, animals and inanimate elements) through an inclusive, neurodivergent lens.

Arrive at 5:30pm, event starts at 6pm.

Booking: Free, event booking required through booking link

New Life, Old Buildings is IAF’s national programme about the future of buildings that are already built.

11 Sept, 12:30-8pm, Wickham Way, Limerick
– Walking tour | Never Look Back
– Open table discussion | Places for Arts and Culture
– Site visits
– Panel | From Rubble to Regret: The Consequences of Demolition

18 Sept, 12:30-8pm, Wickham Way, Limerick
– Walking tour
– Open table discussion | Places for Social Inclusion and Community Development
– Site visits
– Panel | Storeys Retold: Heritage for the Future

23 Oct, 1pm
– Webinar | Look at the City

24 Oct, 1pm
– Webinar | Creating Space

In ‘The Sibyls’, Alice Maher presents a series of monumental drawings of female figures entangled in, or twisting free from, vast snaking mounds of hair. At the base of these drawings the artist has placed small piles of highly polished, irregular objects—amorphous forms that resemble great globs of mercury.

The title of the series, The Sibyls, references the oracular women of archaic times, seers who lived apart from society and were believed to channel the prophesies of the divine. In Renaissance art these figures were transformed into biblical prophetesses, pictured holding scrolls or books, as in Michelangelo’s majestic turban-clad sibyls in the Sistine chapel. Maher’s Sibyls are different – rather than resting serenely in the architecture of institutional belief or patriarchal systems of meaning, these Sibyls are altogether more dynamic and equivocal. Their scrolls have morphed into chaotic skeins of hair; their turbans twisted into massive living organisms that envelop, extend from, and consume their heads, while their powerful bodies struggle and strain to impart their portentous message…

…Culturally coded as either dangerous or shameful depending on its context, hair becomes here a visual agent of instability. Are the Sibyls coming into being through this dense matrix of bodily material, or are they caught in the web of their own weaving? Are they rising or falling, emerging or succumbing? The signs are deliberately destabilising; their meanings are as slippery and shifting as the mysterious sculptural shapes tumbled below.’

Extract from an Accompanying Text written by Dr Sarah Kelleher.

A Cage Called Family
A Solo Exhibition by Andrej Getman
Curated by Dino Notaro

A raw and unflinching look at growing up queer in a home that doesn’t always accept you. These paintings reveal the tension between family ties and selfhood, how love can feel conditional, how the place meant to protect can become a cage. Each work tells a story of confinement stretching from childhood into adulthood, speaking to hidden wounds, quiet acts of courage, and the strength it takes to live openly.

Official Opening: Thu 11 Sept, 6 – 8 pm

Dates: 11 – 21 September
Opening Hours: Tue – Sun, 10:30 – 5:30

Scraperboard and Watercolour by Brian Gallagher

Exhibition officially opened by Alan Keane of The Artist’s Well
Thursday 11th September 2025 at 7.30pm

September 11th until October 12th 2025

Viewing Times
11am to 5pm Monday
11am to 9pm Tuesday – Friday
Saturdays 5pm – 10pm

www.bdgart.com

You are invited to PROTOTYPE, the first-ever graduate exhibition for Trinity College Dublin’s new MPhil in Digital Arts and Intermedia Practices.

Presenting the independent research projects of students in the M.Phil. Class of 2025, PROTOTYPE is a showcase of innovative new works at the cutting edge of contemporary art and emerging digital technologies.

Opening Reception: Thursday 11/9, 18:00-20:00

Exhibition
Thursday 11/9 12:00-18:00 (Appointment Only)
Friday 12/9 12:00-18:00
Saturday 13/9 12:00-18:00

Opening reception Thursday 11th September. 6pm. Exhibition Fri 12th – Weds 17th September. 12 – 5.30pm. Closed Sunday/Monday. Dublin based artist, Glenn Matthews showcases a selection of his Pop Art portraits at a solo exhibition at Red’s Gallery Dublin in September.

For more information please contact marginman1@gmail.com

Pallas Projects/Studios are pleased to present Kathryn Maguire—Material Acts, the sixth exhibition of our 2025 Artist-Initiated Projects programme.

A sculptural re-mapping of sacred and ritual geologies.

Maguire’s work examines the ritual and magical possibilities of minerals as deeply embedded alternatives to the comparatively recent regard for minerals as purely extractable commodity.

Red stain oozes out of the cave walls and dries. This substance, Ochre, a ferrous rock, when ground into a powder and mixed with water, saliva, or urine, creates an impressive substance for use on the body or other surfaces. The relationship with minerals began possibly 300,000 years ago. Some of the ochres shimmered as mica or pyrite may have been present. People travelled far and wide, trading the potent minerals for ritual, magic, and storytelling purposes. The material had meaning and was valued. ‘Ochre altered our relationship with the earth. The dead rock underfoot yielded something miraculous, something striking and powerful, something that with conscious intervention could be transformed, and then used itself for transformative effect.’

‘Material Acts’ condenses some of Maguire’s research into minerals, mapping and mining and the relationship to rocks over the centuries. In 1824, Ireland was the first country in the world to be mapped by the British Ordnance Survey; the mapping of Ireland was developed to facilitate taxation and evaluate the ‘Underground Potential’ of geological and material reserves. Mapping was done by triangulation, by creating a series of primary triangles. Sightings were taken between stations using theodolites and light (often moonlight) on specific Mountains. Maguire has used real artefacts from the field, such as surveyors’ tripods, Gunter’s Chains and geological drill core boxes that once housed drill cores of riverine deep strata.

In this installation of large-scale colourful oil paintings, sculptures and plexiglass mirrors Karen Ebbs explores ideas relating to reflection, perception and reality. At the heart of the work is colour, life-affirming and transformative. In a time of ecological and social challenge, Ebbs uses colour as a quiet rebellion against grey apathy to offer hope. Using mirrors, the boundaries between the artworks and the individual collapse. Viewers are confronted with their own reflections as they become interwoven with the artworks. Through this interaction visitors become part of an ever-changing installation which is continuously altered by their presence. This idea challenges the notion of separation and how we perceive ourselves, offering viewers an opportunity to pause.

Karen Ebbs is a Dublin-based artist and a member of Pallas Projects and Studios. She received a Masters in Fine Art, in painting from NCAD in 2023 and was subsequently shortlisted for the RDS Visual Arts Awards. She also studied at the Royal Hibernian Academy School, Dublin. Recent solo exhibitions include Rathfarnham Castle, 2024, Farmleigh Estate, 2022 and the LAB Gallery, Dublin, 2022. In 2022, Karen received an Agility Award from the Arts Council of Ireland and a Professional Development Award from dlr Arts Office.
Our Gallery Learning Programme has lots of workshops, tours for all ages and opportunities to learn more and try different artmaking techniques. See our website for information: www.dlrcoco.ie/arts.

The form of photographic practice has expanded in recent times and the RHA invited artists to respond to the spatial magnitude of the largest gallery in Ireland, with many responding to the open spaces with in-the-round works to create something beyond the typical photo show. Pictured here is: the prosaic everyday made poetic; reflections on both psychic and human-altered landscapes; art documentary; constructed abstractions; observations on borders, invisible and hidden; meditations on sexuality and objectification; the interconnectedness of nature and reflections on Ireland losing its welcoming spirit. Throughout it all, a collage of Irish cultural identity—and our contemporary photographers’ place within it—is revealed.

This exhibition is the result of a collaboration between the RHA’s exhibition department and the artist-led group Island Photographers, who foster engagement with and understanding of photography in Ireland, both in the fine art realm and the broader lens-based culture industry through talks, events and workshops. All eight members are participating in the show.

Earth Rising Festival 2025

Join us for Earth Rising 2025, a vibrant free festival of art, ecology, and ideas. Running from 12 to 14 September, this year’s festival is inspired by Staying with the Trouble, IMMA’s major group exhibition based on Donna Haraway’s influential text. From radical talks to joyful workshops, restorative installations to grassroots action, Earth Rising 2025 features over 50 free events designed to inspire, connect, and activate. Explore the programme – Art, Talks, Music, Screenings, Workshops and Tours & Activities – in the below panels.

IMMA is also thrilled to share that it has officially signed up to Culture Declares Emergency, becoming the first major cultural institution in Ireland to do so. This global movement calls on the cultural sector to respond to the climate and ecological crisis.

The festival opening hours are Fri 12 Sept from 5pm to 9pm; Sat 13 and Sun 14 Sept from 10am to 7pm. Full programme details and booking links are available at the link below. Some events require advance booking. All events are free admission.

Follow us on Instagram, Facebook, TikTok for updates. We look forward to welcoming you to Earth Rising, bring your curiosity!

Laura McMorrow’s paintings draw on found imagery of figures working in the garden, altered landscapes (topiary and hedging), plants, and people enjoying gardens and green spaces.
McMorrow learned everything she knows about gardening from her mother Gillian. An avid gardener and obsessive weeder, Gillian tended to her garden in North Leitrim by making decisions about which plants belong and deserve to self-seed and which become a nuisance. Her approach to gardening was naturalistic and looked effortless, but she was extremely dedicated to her craft.

Out in the garden, in all weather until dusk, it became a form of therapy for her as she suffered with a chronic and fatal illness. The garden became a sanctuary for Gillian and a source of inspiration for Laura who began researching and making work about gardens in her studio practice. Poet and gardener Ross Gay describes time spent gardening as “an exercise in supreme attentiveness”, a trait it shares with painting.

A stop motion animation created using a paint on glass technique is exhibited alongside the paintings. Each frame is hand painted, giving it a painterly and expressive aesthetic. The animation illustrates a quote by the filmmaker Derek Jarman in the book Modern Nature, a journal of his time spent gardening in Dungeness shortly after he discovered he was HIV positive.

The gardener digs in another time, without past or future, beginning or end. A time that does not cleave the day with rush hours, lunch breaks, the last bus home. As you walk in the garden you pass into this time — the moment of entering can never be remembered. Around you the landscape lies transfigured. Here is the Amen beyond the prayer. Derek Jarman.

McMorrow is interested in a personal exploration of the garden as a sanctuary and a space of refuge. However, she is also questioning the complexity of gardening in a time of climate emergency and the futile act of attempting to control and tame nature. The transition to a more ecologically friendly approach to gardening, for example, growing a wildflower meadow instead of a lawn. McMorrow embraces this duality of gardening as a form of therapy and its disposition in the greater context of our time.

Laura McMorrow is a visual artist from Leitrim. She holds a Masters in Fine art from the University of Ulster in Belfast (2012) and she graduated with a degree in painting from Limerick School of Art and Design (2008). Her practice incorporates video installation, animation, sculpture, collage, and painting.
Recent solo exhibitions include The Gardener Digs at The Dock and The Lost Acre at Leitrim Sculpture Centre. Recent community art projects include a collaborative animation project with teenagers funded by Creative Ireland and a sensory mapping project with Leitrim Cycling Festival.
McMorrow is part of the collective, who run an artist-led studio and experimental space in Manorhamilton, Leitrim. Her studio is currently based in the collective space. In 2023, the collective worked together on a collaborative project called Waking the Land that considered environmental grief, supported by the Irish Hospice Foundation.

All works in the exhibition, The Known and Unknown World, have taken a drawing of a five-legged cat by George McCutcheon as their initial point of reference. This work, made in 1996 remains the logo of KCAT to this day. This unusual creature exists at the centre of a sprawling exhibition that mirrors the multi-layered design of a Wunderkammer.

From the 16th century onwards these cabinets of curiosities mixed items from the arts, the natural world, and the sciences to present idiosyncratic views of existence. Juxtaposing local landmarks with fantastical landscapes, common songbirds with speculatively designed creatures, human portraits with extra-planetary beings, The Known and Unknown World invites the viewer to discover and celebrate the multiplicity of ways in which the world can be experienced, understood, and recorded.

Artists featured in this exhibition include: Andrew Pike, Brianna Hurley, Declan Byrne, Diana Chambers, Erin Hacking, Eileen Mulrooney, Fergus Fitzgerald, Fintin Kelly, Jason Turner, Karl Fitzgerald, Lorna Corrigan, Margaret Walker, Shay Croke, Sinead Fahey, Thomas Barron, Mary Cody, Francis Casey, Jack Foskin and George McCutcheon.

Curated by Benjamin Stafford in cooperation with KCAT Studio. This exhibition was first shown at KCAT Art Centre, Callan, Co. Kilkenny as part of the Kilkenny Arts Festival, 2025.

Marianne Keating’s upcoming exhibition brings together two new films that interrogate Ireland’s shifting place within histories of nationalism, migration, and global power. Cad Leis a Bhfuilimíd Ailínithe / To What Do We Align (2025) is a multi-channel film that reflects on Éamon de Valera’s idealised vision of Ireland, its economic stagnation and mass emigration, and the country’s subsequent reorientation under Seán Lemass, as Ireland chose to align itself with Western hegemony rather than the newly formed Non-Aligned Movement.

No Irish Need Apply (2025) examines the experience of the Irish in Britain during the 1970s and 80s, a period when political violence in Northern Ireland fuelled systemic discrimination, surveillance, and social prejudice against Irish communities. Together, these works explore how Ireland has been both the subject of, and complicit in, wider histories of colonialism, migration, and exclusion, revealing the contradictions at the heart of national identity

Marianne Keating is an Irish artist and researcher based in London. She holds a practice-based PhD in Visual & Material Culture and Contemporary Art Practice entitled, ‘They don’t do much in the cane-hole way’, Hidden Histories of the Irish Diaspora in Jamaica, funded by KSA at Kingston University, London and a TECHNE Associate. She has an MA in Fine Art from the Royal College of Art, London and a BA in Fine Art from Limerick School of Art and Design, Ireland. She is currently an Associate Lecturer at the Royal College of Art, London (2020- Present).

Keating was shortlisted to represent Ireland in the 2022 Venice Biennial and has exhibited extensively throughout Ireland and internationally. Upcoming and recent exhibitions include (2025)The Irish Pavilion, World Expo, Japan; The Model, Sligo; Limerick City Gallery of Art, Limerick; Wexford Arts Centre, Wexford, Ireland. Collections include The Office of Public Works, Ireland; Royal College of Art, London; Norlinda and José Lima Collection, Portugal; Zuckerman Museum of Art, Georgia, USA; Palazzo Fogazzaro, Vicenza, Italy.

Featuring works by Ben Malcolmson, Erik Nuding, Frances Hennigan, Laura McMorrow and Penny McGovern.

8pm, 12th September 2025

Abbey Arts Centre, Ballyshannon, Co.Donegal.

I feel how my eye turns presents films that resonate with themes of discovery, verifiability and belief. The title, drawn from a poem by surrealist artist Meret Oppenheim, gestures toward shifting ways of seeing. These works explore realities and stagings of various kinds through documentary, performance and the mediated image. We invite you to consider these different constructions, how do they turn your eye?

We hope to offer space for conversation and reflection on the breadth of moving image practice in the North West today.

Running time: 31 minutes with a post-screening Q&A

*Free Admission* – Reserve your ticket at this link: https://www.screenservice.ie/

Curated and produced by Screen Service in partnership with The Abbey Arts Centre, Ballyshannon, Donegal.

Supported by Creative Ireland and Donegal County Council 2025.
This opportunity is made available through Creative Ireland’s Creative Communities Programme, which is supported by the Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media and Donegal County Council.

Poster designed by Cian Pawle-Bates featuring a still from ‘Looking for Sam’ by Erik Nuding, 2024.

Golden Thread Gallery is proud to present Radical Hope, a new exhibition developed in collaboration with Arsenal Gallery in Białystok, Poland. Curated from Collection II, one of Poland’s most significant collections of contemporary art, the exhibition offers a timely reflection on uncertainty, resilience, and the transformative potential of art.

Collection II, held by the Arsenal Gallery and shaped under the direction of Monika Szewczyk, traces the evolving landscape of contemporary art in Poland and Eastern Europe over the past three decades. Developed as an ‘open corpus,’ the collection is a living archive: dynamic, growing, and responsive to the shifting narratives of our time.

This exhibition is part of the UK/Poland Season 2025 organised by the Adam Mickiewicz Institute, British Council and Polish Cultural Institute in London, and supported by the Ministry of Culture and National Heritage, as well as the Ministry of Foreign Affairs in Poland.

Join us for the opening of ‘Sonorous Tones’ by Geometric Hardedged Colourist Painter Francis Tansey’. The Exhibition will be opened by Mr. John Cunningham, Board Member and Chair of Collections and Acquisitions for The Irish Museum of Modern Art.

“I believe colour is a universal language common to all people, I have dedicated my time over the past forty years to understanding it’s principals and properties.” Francis Tansey.

Francis Tansey was born in Dublin in 1959 and has been one of the most popular Irish artists over the last four decades. He studied at the National College of Art and Design in (1978-1983) specializing in abstract art and in 1985 he became the first Artist in Residence, at The Butler Gallery, Co. Kilkenny, where his brightly coloured geometric acrylic painting’s caused great interest.

Tansey’s unique distillation and interpretation of Colourism gained him immediate recognition worldwide and particularly in Ireland. He first rose to prominence with his inclusion in R.O.S.C. in 1988 as the youngest artist ever to have exhibited in this prestigious International Exhibition. Tansey employs a hard-edged geometric style, using acrylic paint in a glazing technique reminiscent of a renaissance master with many layers of glazes to create vibrant colour field paintings in a modern abstract geometric colour language, that is his own.

Exhibition Launch: Saturday 13th September at 12 noon

Based in Sligo, Lorna Watkins is a multi-disciplinary visual artist. She studied Printed Textile Design in NCAD and is a recipient of a Ballinglen Fellowship. Her exhibition Tend/er features painting, printmaking and sculpture exploring ideas around the home, overlooked everyday objects, motherhood and ageing. She often references the body, as life drawing has been a constant in her practice over the past decade.

In 2024 Watkins was selected for the John Richardson French Residency Award and in 2020, JOYA AiR, Spain. She is a recipient of the Arts Council Agility Award; ADI Training Award and Thomas Damann Travel Bursary and her works are part of several public and private collections including the Ulster Hospital and Ballinglen Arts Foundation.

Creative Coffee is a monthly event for artists interested in connecting with others, in a relaxed and welcoming space. Artists of all disciplines and interests are invited to attend. In September, our special guest is Jennifer Cunningham. Jennifer is a visual artist who works with a wide range of different media including painting, printmaking and drawing, film and digital media. She regularly works to commission and her work is highly sought after. Jennifer has won many awards for her work and her work is in collections all over the world. Local creatives are invited to gather and get inspired! In these challenging times, Creative Coffee aims to give artists a chance to re-energise amongst their peers. All welcome.

A Walk & Talk Tour with the Artist, facilitated by Gillian Lattimore of Irish Seed Savers will take place on Sat 12 Jul at 10am. All welcome.

Heirloom is an installation of works created by artist Rachel Doolin. The project stems from a culmination of experiential research undertaken during an Arctic-based residency programme, later informed by a creative partnership with the Irish Seed Savers Association.

In 2017, Doolin embarked on a research residency in Longyearbyen, an industrial frontier town situated in Svalbard, a remote Arctic archipelago located midway between continental Norway and the North Pole. Here, buried deep beneath a permafrost mountain, lies a backup of the world’s largest collection of agricultural biodiversity, cryogenically preserved within the Svalbard Global Seed Vault. The Food and Agriculture Organisation of the United Nations estimates that 75% of the genetic diversity in agricultural crops has been lost since the 20th century. As risks from the climate crisis and global conflict escalate, seed banks are increasingly considered a precious resource that could one day prevent a worldwide food crisis.

Heirloom presents a series of visual, installation, and digital works that celebrate the ‘profundity of seeds’ by exploring the human thread that articulates the connection between our past, present, and future. It places the humble seed as a profound nexus in the nature-culture relationship.

This exhibition will be accompanied by a number of workshops and activities. Please see website for details.

Samir Mahmood is a Pakistani artist based in Dublin. In his country of origin, Mahmood trained as a medical doctor, and he immigrated to Ireland in 2008 to undertake further studies in the field. But he abandoned this career to pursue art, and has been working as an artist in Ireland since the mid-2010s. The exhibition Symplegmatic Portals features numerous newly created works alongside an extensive selection of works made between 2017 and 2024. It is the largest presentation of the artist’s work to date.

Symplegmatic Portals is produced by SIRIUS and curated by Miguel Amado, Director.

LAUNCH EVENT

SIRIUS
Saturday, 12 July
2-4pm
Free; no booking required

Samir Mahmood in conversation with Seán Kissane, moderated by Miguel Amado

Samir Mahmood and Seán Kissane, Curator at the Irish Museum of Modern Art, discuss the exhibition’s vision, key works on display, the politics and aesthetics informing Mahmood’s practice and his wider artistic intentions.

Accessibility Note
Our building has accessibility limitations. There are three steps to the front door and a temporary wheelchair ramp is available upon request. Elements of this exhibition are accessed via stairs. Our toilets are also accessed via stairs and are not open to visitors. Public toilets are beside the Titanic Experience, on The Promenade.

Samir Mahmood’s practice encompasses painting, textiles, objects and video, with a particular focus on themes of identity, representation, bodily awareness and spiritual transformation. Specifically, he makes large-scale scrolls and small-format paintings. Both draw from the techniques and materials of miniature painting on the Indian subcontinent – for example rich detail, intricate storytelling and the use of wasli, a specific type of handmade paper, as a substrate. The typical imagery features landscapes or scenes of people that indicate power relations and structures, wildlife or mythology. Mahmood subverts all of this through motifs that explore his lived experience as a queer person with an Islamic upbringing.

Mahmood is influenced by multiple intellectual and visual references: Sufism (a chapter of Islam) and Christianity; the writings of the fourteenth-century Persian poet Hafez; architecture, ritual objects and practices, ceremonies, mysticism, folklore and iconographies from the Indian subcontinent and/or Islam; alternative theories of consciousness; and narratives of queer existence.

Mahmood depicts the male form in states of introspection or conviviality. Figures appear within or surrounded by nature – trees, vegetation, water, mountains and more – in varying expressions of intimacy. In addition, he shows figures in dialogue with sites of politics, including courthouses and administrative chambers, which suggest conservative customs and values. In the work, these bodies undergo a transcendence that speaks to a personal transformative potential, representing a union with the divine or, more broadly, a spiritual awakening, as well as a subversion of normative lifestyles.

A key feature of the exhibition is the series of large-scale scrolls portraying joyous celebrations of sexual freedom, and the garden as a symbol of paradise and utopia across religions. The artist calls these works ‘queerscapes’ – spaces of liberation where bodies are interacting, mutating, coalescing.

The title of the exhibition invokes yet more of Mahmood’s key interests. ‘Symplegma’ can mean renderings of sexual intercourse, composite drawings in miniature painting from the Indian subcontinent or anything that is entwined or entangled. Overall, these interpretations speak to the artist’s embrace of hybridity, especially gender indeterminacy and fluidity, as well as his own blended cultural experiences.

Samir Mahmood lives and works in Dublin, where he operates from Fire Station Artist’s Studios. He has held a solo show at Mart Gallery, Dublin, and has participated in group shows in venues such as the Irish Museum of Modern Art, Dublin; Pallas Projects/Studios, Dublin; and The Glucksman, Cork. He holds a BA in Art from the Atlantic Technological University, Galway. His work is in the collection of University College Cork. He received awards from the Arts Council, including the Next Generation, Bursary and Agility.

The Courthouse Gallery Studios in Ennistymon is delighted to announce the opening of its Summer Open Exhibition, launching on Tuesday, July 4th, and running throughout the summer season.

Curated by acclaimed artist and curator Gabhann Dunne, the exhibition showcases an exciting and diverse collection of work from selected artists across Ireland. Visitors can expect a rich display of creativity, including paintings, sculpture, and mixed-media works, offering something for art lovers of all tastes.

The Summer Open celebrates both emerging and established artists, providing a platform for vibrant artistic voices and fresh perspectives. All exhibited artworks will also be available for purchase, making this an excellent opportunity for collectors and visitors to take home a piece of contemporary Irish art.

The Courthouse Gallery Studios invites the public to join them for the opening and enjoy an inspiring evening of art, community, and conversation.

Location:
The Courthouse Gallery & Studios
Ennistymon, Co. Clare, Ireland

Opening Reception:
Friday, July 4th, 2025

‘Matters of Process’ – Exhibition Launch Friday 8th August 5-8pm.

Niamh Fahy, Lucy Mulholland, Blaine O’Donnell, Kate Oram, Sonya Swarte.

Matters of Process is a new series of exhibitions that explores the work of artists who completed a Technical Development Research Residency (TDR) the previous year at the Centre. During their research phase, artists conducted experiments with diverse materials and objects, examining the often hidden processes and energies involved in their creation. Matters of Process highlights these processes and showcases how they influenced the generation of new work and ideas.

Niamh Fahy’s approach examines how disembodied forms might metamorphose into speculative bodies within the landscape. Working with the malleable and translucent qualities of wax, the artist introduces the disobedient cow’s tongue, detached from notions of human ownership. Her series of ‘roaming’ sculpture works forms a playful engagement with imagined worlds and unseen relationships in the landscape. Lucy Mulholland’s sculptural practice explores ecological precarity, interspecies entanglement, and the ethics of care through labour-intensive processes like mould-making, slip-casting, and metal casting. She works primarily with clay, metal, and paper, investigating how these raw materials are transformed through process. Humour and play are key strategies in her work — ways of navigating the emotional complexity of living through ongoing crisis. Her recent work examines how small, seemingly futile gestures can take on new meaning when viewed through the lens of climate anxiety and collective denial. Blaine O’Donnell has created new work investigating the sculptural potential of electro-mineral accretion processes, where limestone deposits gradually build up on wire forming an Irish word in a tank of mineral-enriched water. O’Donnell explores the art object as a site for the meeting of disparate things – limestone dust, metal, electricity, water, solar energy, and the Irish language – tracing points of separation and connection between the material and incorporeal, presence and absence, artwork and place. Kate Oram’s large-scale welded steel installation features fractal-inspired branching forms, echoing the self-similar, repeating patterns of tree growth. These sculptures are rooted in an exploration of recursive geometry, mirroring the natural logic of tree development and limb structures. The works aim to translate natural growth systems into durable, tactile forms that provide space for quiet observation and bodily resonance. Sonya Swarte’s installation employs the mechanics and processes associated with the early stages of photography and animation to reconfigure images from mobile phones, old photographs, postcards, drawings, animation, and diaries. Inspired by the persistence of images from the past, as in the concept of ‘hauntology’, Sonya works with print, drawing and photo-reel manipulation to develop an experimental work-in-progress installation using a self-made mutoscope, a praxinoscope and series of wall-mounted drawings.

Bio’s

Niamh Fahy is a visual artist and researcher from Galway, she has worked as a Research Associate at the Centre for Print Research (CFPR) at the University of the West of England. She completed her BA in Fine Art Printmaking at the Limerick School of Art and Design, Ireland and holds her MA in Multidisciplinary Printmaking, University of the West of England (2019) and she is currently studying towards completing her PhD. Through her practice, Niamh investigates the possibilities and capacity for the print artist to challenge and expand modes of understanding anthropogenic changes within landscape. Between 2021 and 2023 she was awarded the UWE HAS-ACE connecting research project grant for the project Slow Violence and River Abuse: The Hidden Effect of Land Use on Water Quality. Her work has been exhibited nationally and internationally at shows including The Masters: Relief, Bankside Gallery, London. The RWA, Bristol. The TYPA letterpress and Paper Arts Centre, Estonia. International Printmaking Conference Impact 9, Hangzhou, China and Woolwich Contemporary Printmaking Fair, London.
http://www.niamhfahy.com/

Lucy Mulholland (b. 1999) is an emerging artist based in Belfast. Working across sculpture and installation, her practice playfully investigates connections and exchanges between humans and the more-than-human world. She focuses on actions or gestures that may seem insignificant or even futile, reimagining them as catalysts for potential future action. Lucy holds a First-Class Honours degree in Sculpture from Edinburgh College of Art (2022) and was recently awarded the 2025 Gilbert Bayes Award by the Royal Society of Sculptors and the Meyer Oppenheim Prize at the 195th RSA Annual Exhibition. She has exhibited across Ireland and the UK, including Hidden Door Arts Festival Edinburgh, AWAKEN (Artlink, Buncrana), Materials, Messages and Meanings (R-Space, Lisburn), and They Had Four Years (GENERATOR projects, Dundee).

Blaine O’Donnell received the 2019 Emerging Irish Artist Residency Award at the Burren College of Art, followed by the exhibitions CAOL AIT, BCA, Clare (2019) and CAOL AIT Cuid a Do, 126 Gallery, Galway (2020). In 2021, he created a permanent sculptural installation at VOID, Derry, for Office of the Rest, a Forerunner project commissioned by Mary Cremin. O’Donnell’s essay Things to Do With Photographs was shortlisted for the Source Magazine Writers Prize 2021. Recent exhibitions include hinder/further, The Complex, Dublin (2022), and TWO PHOTOGRAPHS AWAY, Ardgillan Gallery, Balbriggan (2024). Residencies include the Temple Bar Gallery+Studios / HIAP Residency Exchange (2023), the Helene Wurlitzer Foundation of New Mexico (2024), and Fire Station Artists’ Studios, Dublin (2024/5). Awards include the EMERGENCE Award, Wexford Arts Centre (2024) and the Paul Robinson Award, TBG+S (2025).

Kate Oram was awarded a Bachelor’s degree in Wood, Metal, Ceramics and Plastics in Brighton in 1991. After thirty years in the studio producing finely crafted bronze and stone sculpture, in 2021 she completed an MA in Creative Practice at IT Sligo during which she engaged with new processes, exploring the depths of her connection to the landscape. Her work has evolved towards a more conceptual, ecologically-focused art practice, allowing the creative forces of nature to shape her work. Exhibitions include King House, Boyle Arts Festival 2012-2023; Sculpture in Context, Botanic Gardens, Dublin 2015- 2023; Ballymaloe Sculpture Exhibition, Co. Cork, 2018; Sculpture at the Castle, Blarney, Co. Cork 2019, 2023/24; Tread Softly Festival, Sligo, 2021 and ‘Bloodroot’, Pulchri Studio, The Hague, Netherlands and Hamilton Gallery, Sligo 2025.

Sonya Swarte grew up in The Netherlands where she acquired a BA in Archaeology in 2005 at Leiden University. In 2007 she came to Ireland and has since been based in Leitrim where she lives with her three children. Swarte finished an Art and Design course (ETB) in 2017 and a Masters in Creative Arts (ATU Sligo) in 2022. During the Masters she started working in film photography and (stop motion) animation and later made a collaborative work entitled Bridey, with M. Blake, which was shown at the Galway Film Festival that year. In 2023 Swarte took part in the Chervona Kalyna animation project for Creative Leitrim and is based at the Leitrim Sculpture Centre where she continues to explore various ways of printing, developing photos and super 8 film. In 2025 Swarte joined the art collective ^ in Manorhamilton and is also a member of the Manorhamilton Print group where she facilitates print workshops with other artists.

Image credit: Kate Oram, Work in Progress. LSC 2025

Clare Arts Office in conjunction with Cultúrlann Sweeney Library Gallery is delighted to present ‘Painting through the lens” an art exhibition by Pauline Dunleavy.

Pauline Dunleavy is a prominent Irish artist, art-teacher, and community advocate rooted in the dramatic landscapes of West Clare. Born and based in the Kilrush area, she draws endless inspiration from the shifting moods of the River Shannon and the Atlantic coast.

Mediums: Primarily works in oils, but also acrylics, charcoal, and encaustic (pigmented beeswax). Over 25 years of painting, her style has matured into vibrant pieces rich in texture and transparency, often incorporating abstract elements layered with pastel, charcoal, and acrylic before final oil or wax finishes.

She loves nothing more than getting out into the landscape to sketch. Her creative approach begins with music, layered gesso, and quick studies. Uses photo references and mirrors to evaluate composition, spraying, erasing, and layering until the piece feels complete. She finds beauty in the ordinary local scenes such as boglands, seascapes, coastlines and this comes through in her work.

Pauline often photographs landscapes before painting. Referencing photos during her process helps capture the authenticity of light, mood, and composition. She waits days before signing the work to ensure total satisfaction of the piece.

Exhibitions & Community Involvement
2022: First solo exhibition “On Our Doorstep” at Cultúrlann Sweeney Gallery, Kilkee, Officially opened by Artist Ruth Wood.
2024: Exhibition “Inspired Landscapes and Beyond” at Clare Museum, officially opened by wildlife expert Éanna Ní Lamhna.
June 2025: Exhibition “Breaking Borders” in Kinvara.
July 2025: Part of the Summer Exhibition at the Kenny Gallery, Galway. Her other pieces are on display all year round.
July 2025: Kilrush Art Group exhibition at Kilrush Library.
Works can be viewed also at The Kilbaha Gallery throughout the year.
Runs her own Gallery & Craft Shop (Anchor Crafts, Kilrush).
Community Engagement:
Former lifeboat crew and Station Manager with the Kilrush Rnli for over 25 years, it has given her a deep connection to the sea which she portrays on almost every canvas. Pauline is very well regarded in West Clare.

Featured Image: Poster for upcoming exhibition

Exhibition continues 9th August – 6th September 2025

Presenting new works by members of Graphic Studio Dublin and invited artists.

Now in its 65th year, Graphic Studio Dublin continues to be a vital space for fine art printmaking in Ireland. The Summer Exhibition brings together new work by current members and invited artists, reflecting the wide range of styles, subjects, and printmaking techniques being explored in the studio today.  From etching and lithography to carborundum and screenprint, the show celebrates the work, experimentation, and community that has defined the studio for more than six decades.

Join us at Luan Gallery on Saturday 6th September at 2pm for the Soft Surge Artists and Curator talk

This roving in-conversation event, led by Luan Gallery curator Aoife Banks in dialogue with Soft Surge exhibiting artists Shirani Bolle, Ursula Burke, Rachel Fallon, and Lucy Peters, will guide visitors through exhibited artwork. Together, the curator and artists will address and unravel the themes encountered in the exhibition. As we move through the gallery, the discussion will critically engage with the conceptual frameworks and thematic concerns underpinning the works, offering insight into the curatorial rationale and the artistic practices of the exhibiting artists.

SOFT SURGE is a group exhibition featuring artists Shirani Bolle, Ursula Burke, Rachel Fallon, Dee Mulrooney, Lucy Peters, Emily Waszak, and selected work on loan from The Irish Names Project. Soft Surge critically engages with themes of identity, motherhood, women’s collectivity, grief, resistance, activism, and sociopolitical dissent within the context of contemporary Ireland. Through a range of practices and processes including sculpture, embroidery, weaving, knitting, tapestry, film, photography, and mixed media, the artists featured in this exhibition explore the soft power and radical potential of textiles.

Curated by Aoife Banks

RUNNERS is a circus show that combines excellent juggling, stunning objects and incredible sounds.

Two jugglers, Alex and Jonas find themselves bound to the rules of running machines while a musician, Moises, orchestrates them through a series of games and experiments. This vivid circus performance celebrates juggling and running.

A pop-up art & craft market in the beautiful seaside village of Rathmullan in Donegal featuring all handmade and unique work from local artists. Please pop in to check out the wonderful array of wares and an opportunity to meet the Makers!

SOFT SURGE

Shirani Bolle | Ursula Burke | Rachel Fallon | Dee Mulrooney | Lucy Peters | Emily Waszak | The Irish Names Project.

The exhibition will be launched by Laura McCormack, Acting Arts Officer for Westmeath Arts Office on Friday 27th June at 6:00pm. All are welcome to attend. The exhibition will continue until Sunday 7th September.

SOFT SURGE is a group exhibition that critically engages with themes of identity, motherhood, women’s collectivity, grief, resistance, activism, and sociopolitical dissent within the context of contemporary Ireland. Through a range of practices and processes including sculpture, embroidery, weaving, knitting, tapestry, film, photography, and mixed media, the artists featured in this exhibition explore the soft power and radical potential of textiles.

SOFT SURGE features newly commissioned works by Emily Waszak and Dee Mulrooney, alongside existing works by contemporary female artists who mobilise cloth and fibre as both tactile material and affective framework. Drawing inspiration from the Moirae, the Greek Fates who spun, measured, and cut the threads of life, Soft Surge posits its exhibiting artists as weavers of narratives shaped by trauma, resilience, and embodied political agency.

This exhibition has been kindly supported by The Arts Council.

Exhibition continues 16th May 2025 – 7th September 2025.

This exhibition centres upon a thirteenth-century manuscript copy of al-Iṣṭakhrī’s book from the Chester Beatty’s Arabic Collection and a commissioned response by contemporary artist Diaa Lagan.

Meticulously-labelled, al-Iṣṭakhrī’s full-page maps apply pre-modern techniques of exaggerated scale and schematic distortion to deliver both geographical data and an undeniably visual spectacle. These beautiful maps present a poignant visualisation of the world we know today.

Diaa Lagan is an artist based in Dublin. Typically layered in multiple viewpoints and references, Lagan’s powerful work deals with multiple perspectives on the conscious human sense of place, both local and global, and on our enduring relational connectivity to one another.

Lagan’s geo-spatial awareness is also central to al-Iṣṭakhrī’s book and its regional map survey. Glimpses of al-Iṣṭakhrī’s stark maps shimmer under the many layers of Lagan’s paintings, interwoven with modern themes and post-colonial perspectives.

For Lagan, these loaded landscapes offer interregional routeways, defined less by controlled frontiers than by the natural historic flow of human travel through a borderless world.

Kinvara Area Visual Artists (KAVA) are pleased to present a new exhibition, Darryl Vance: Situated, opening Friday, August 29th, 2025 with a public reception from 7 to 9pm at The Courthouse in Kinvara, County Galway. The exhibition will open with remarks by artist and musician Cath Taylor and music by singer songwriter Mick Brown. The gallery will be open daily from 11am until 5pm through Sunday, September 7th.
In this new work, artist Darryl Vance continues his exploration of the transformative qualities of paint. Developing his process over the past eight years, Vance has arrived at works of increasing complexity, bold colour and uneasy coherence. Juxtaposing the classic modernism of Mondrian, Paul Klee and Frank Lloyd Wright with the aesthetics of funk and the handmade, his geometry is surprisingly warm, inviting and sensual. His work appears initially comforting, yet on closer viewing subtle tensions emerge.

“I’ve been using this method of painting – slicing up cardboard moving boxes into rectangles and then painting and arranging them – as a way to imagine the notion of dramatic change and to channel it into something unexpected,” Vance explains. “`It became a way of using painting without making a picture of something, which is kind of funny considering the new series I’m doing.”

Over the past few years, as he became settled in the village of Kinvara, Vance began to look at his place in it. “So many things came to mind. The land and the things on it – livestock, boats, buildings in all states of ruin, walls, hedges – compelled me to paint a sort of ‘thank you’ note to it all.” he says.

Last year he came upon an idea for a different tool to paint with: rushes. “I’d learned to make Brigid’s crosses with them, and it got me thinking that they were an apt tool to use in painting about this place.” Vance would later find out they’re quite versatile, and depending on how many you use, the strokes can be broad as a broom or needle thin. He continues, “I use them to add paint and also add texture, making a subtle surface of marks and patterns that recall the ancient and the prehistoric.”

Combining those wild Irish weeds with the usual brushes and palette knives lets Vance continue the nervous energy of his geometric paintings. His new series depicts more familiar aspects of the world through the artist’s idiosyncratic vision. A cow stands in a boat, a Flake bar in its back. A sunken boat creates a small bowl of calm water. A herd of painted rocks. A broken necklace.

“The subjects all seem to have a peculiar narrative in common: that something has happened to them.”

Together with his painted cardboard sculptures – “house-shaped paintings” as Vance calls them – the exhibition’s trio of simultaneous series embodies the work of an endlessly inquisitive creativity.

Darryl Vance (American-Irish, b.1954) is a visual artist living in Kinvara, County Galway. His work is shown and collected internationally, most recently selected for Ballinglen Art Museum’s Biennial. Other juried shows include Linenhall Arts Centre in Castlebar (2023), Art Fair in Waterford (2021), The Courthouse in Ennistymon (2019), and The Westport Music + Arts Festival (2018 and 2019). Recent solo exhibitions include The Galway Fringe Festival (2020), A Space Gallery (2020) and KAVA (2017, 2019 and 2023). He was awarded a BFA from The Atlanta College of Art and has worked in photography, video, public media, performance, conceptual art and painting.

Cath Taylor is a multidisciplinary artist and musician.

Mick Brown is a Galway-based singer, songwriter, folk musician and community music facilitator.

Exhibition continues from 22nd of August to the 7th of September 2025

Manner-isms brings together two artists, A.S. Dutton and Francine Marquis, whose practices explore material, memory, and the passage of time.

Through stone, clay, plaster, fabric, and wood, the works in this exhibition examine how care, environment, and human touch shape—and are shaped by—the spaces and materials we live among.

In these pieces, the domestic and the elemental meet; personal narratives and geological timescales overlap. The result is a conversation between slow change and sudden shift, between the persistence of stone and the fragility of the body, between material and self.

You are invited to explore these minute characteristics ever-present in our surroundings and re-experience yourself among them.

Manner-isms will run from the 22nd of August to the 7th of September. Come and join us on Friday the 22nd of August at 6pm for the opening of this exhibition!

Open daily from 12pm-6pm at 126 Artist-Run Gallery, 15 St. Bridget’s Place, Galway. 126 thanks the Burren College of Arts, the Arts Council of Ireland and Galway City Council for their collaboration and support.

Curated by Eva O’Byrne.

Engage Art Studios is delighted to announce our new summer weekly showcase exhibition, Áit Eile, paintings by orbital member Stephanie McLaughlin showcases the artist’s relationship with her environment. It is a show about depicting ‘other places ‘literally and also refers to abstraction being a different form of painting to literal representation. Landscape painting has a history of being bourgeois/ conservative, as opposed to contemporary/ abstract art. Can this work bridge the divide? There is a risk of a painting being neither an interesting landscape nor an interesting abstract painting. Hopefully the gestural elements make for interesting work

Join us for an in conversation with exhibiting artist Mohammed Sami and Dr. Georgina Jackson, Director at The Douglas Hyde, on the occasion of Sami’s solo exhibition To Whom It May Concern.

To Whom It May Concern is Sami’s first solo exhibition in Ireland and brings together a group of major new canvases, alongside a selection of paintings made over the last five years. Mining personal experiences to ground his work and influenced by Arabic literature and poetry, Sami replaces images of trauma with oblique references to loss or conflict.

Please note that photography and recording are not permitted at the talk.

Unmasking Nature – Foraging for senses: a rich outdoor journey shaped by the beautiful ways minds move through the world

A sensory walking event co-created by a community of cross-border neurodivergent collaborators, led by artist AlanJames Burns.

All are invited to Unmasking Nature’s once-off, free event exploring joyful ways of engaging with the natural world. Co-designed with neurodivergent people who came together as a community over several months, the walk route takes inspiration from their special interests, and is created with disabled participants in mind. Opportunities to experience their creative responses to the site include “deep dive” information points, in addition to the insights of professionals and experts in the areas of fungi, food foraging and biophilia.

At its core, Unmasking Nature asks, “What does it mean to be neurodivergent in nature?”. Across this event we celebrate people’s connection to nature through stimming and emotional cartography. By embracing feel-good, intuitive explorations to the geopark’s deeply interconnected sensory landscape, the project invites event participants to engage with themes such as biodiversity and more-than-human communication (including with plants, animals and inanimate elements) through an inclusive, neurodivergent lens.

Arrive at 5:30pm, event starts at 6pm.

Booking: Free, event booking required through booking link

Join us for Communities of Practice, a gathering that invites those working with communities and the public to share experiences, challenges and strategies with one another, encouraging connection across the sector in the North West. This session will continue conversations from the first session, which looked at collaboration as a potential site of tension, divergences and resistance. Together, we will continue these open conversations and discuss the ways in which we are seeking long-term, equitable working with communities and artists within engagement practice.

Artist Marie Brett is bringing her acclaimed Yes, But Do You Care? piece to Monaghan town on Wednesday 10 Sept. showing as a screening and discussion event at The Arts Office, Market House, 3pm (free entry).

The Yes, But Do You Care? creatively reimagines the human right to make a bad decision, the ethics of family care-giving, and Ireland’s new capacity legislation.
Held in IMMA’s National Art Collection, this highly evocative piece spans the visuals of human body metaphor, with a bespoke soundscape of human testimony and legal mumbo jumbo.

The tour has been funded by the Arts Council

Tá áiteanna sácráilte istigh sa talamh. Tá taibhsí sna háiteanna sin. Táimid i ndiaidh cur isteach orthu.
Tháinig gach pictiúr sa taispeántas seo chun cinn de thoradh oilithreachta pearsanta chuig áit shácráilte i dtírdhreach na hÉireann. Rinne mé taighde ar an bhéaloideas atá fite fuaite sna háiteanna sin, ina logainmneacha agus ina seandálaíocht. Tá baint phearsanta agam le go leor de na háiteanna ar tugadh cuairt orthu. Rinne mé machnamh chun na háiteanna a ‘shú isteach’, mar a dhéanadh na filí. Spreag mo chuid taighde agus físeanna machnaimh pictiúir nua.
Is ionaid chomhlínte iad ionaid shácráilte. Cumhdaíodh a n-oidhreacht faoi thionchar na Críostaíochta. Rinneadh a n-ainmneacha a ghalldú. Goideadh a dtaiscí seandálaíochta. Rinneadh damáiste dóibh go nádúrtha, ach loiteadh go leor eile, amhail Cnoc na Teamhrach, d’aon ghnó. Rinneadh roinnt acu a mhilleadh ag tionscadail a cheadaigh an Stát lena n-áirítear obair chairéalaithe ar Chnoc Alúine ag Roundstone Ltd. Tá an chuid is mó de na láithreáin ar thailte príobháideacha. Go minic tá foraoisí sprús Sitceach ar gach taobh dóibh. Spreagann siad cuimhní ar mo mhuintir dhúchais nach réitíonn leis an chineál saoil atá agam sa lá atá inniu ann, mar shampla mo sheanathair ag baint na móna ar Shliabh gCod – ní raibh ‘sleán’ i mo dhorn agam riamh.
Léiríonn mo chuid saothair na coimhlintí sin – tá cuid acu nár críochnaíodh mar is ceart nó atá folaithe ar bhealach d’aon ghnó. Leagtar móitífeanna físiúla ó thréimhsí éagsúla d’ealaín dhúchasach na hÉireann ar bharr a chéile – agus an teibíocht fite fuaite iontu.
Is ealaíontóir as contae Chill Dara é Rónán Ó Raghailligh a oibríonn le péint, scríbhneoireacht agus léirithe. Téann a chuid oibre i ngleic le Éirinn roimh theacht na Críostaíochta chun aghaidh a thabhairt ar ghníomhaíocht chomhaimseartha iarchoilíneach. Feidhmíonn an béaloideas, an stair agus an tseandálaíocht mar thús pointe don taighde. Tá sé ag foghlaim na Gaeilge arís agus é ina dhuine fásta agus téann an t-eispéireas sin i bhfeidhm go mór ar a chuid saothair.
Bhain Rónán céim amach ón Choláiste Ealaíne agus Deartha le céim mháistreachta sa Mhínealaíon in 2021 agus cuireadh saothar dá chuid ar taispeáint in Éirinn agus thar sáile. Is é ‘Turais Taibhsí’ an dara taispeántas aonair aige i mBéal Feirste, i ndiaidh dó ‘Vae Victis’ a thaispeáint in Platform Arts in 2022.

There are sacred places in the land. They hold ghosts. We have disturbed them.
Each painting in this exhibition is the result of a personal pilgrimage to a sacred place in the Irish landscape. I researched the folklore imbued in these places, their logainmneacha (Irish place names) and archaeology. I have a personal connection to many of the places visited. I performed meditations to ‘channel’ the places, like the filí used to do. My research and meditation visions formed a spring for new paintings.
Sacred places are sites of conflict. Their folklore has been overlaid by Christianity. Their Irish names have been translated. Archaeological finds have been removed. They are damaged naturally, but some have been purposefully vandalised like at the Hill of Tara. Some are destroyed by state-approved industry such as quarrying of the Hill of Allen by Roadstone Ltd. Most sites are on private land. They are often surrounded by Sitka spruce forests. They prompt ancestral memories at odds with my contemporary life such as my grandfather’s turf cutting on Church Mountain- I have never held a ‘sleán.’
My painting method mirrors these conflicts- some parts are deliberately unfinished and obscured. Visual motifs from various periods of vernacular Irish art are overlaid on top of each other, blended with abstraction.

Rónán Ó Raghallaigh is an artist from Kildare working with painting, writing and performance. His practice engages with pre-Christian Ireland as a means for contemporary postcolonial action. Folklore, history and archaeology rooted in the Irish landscape form a foundation for research. He is re-learning Irish as an adult which greatly informs his work.
Rónán graduated from NCAD in 2021 with an MFA Art in the Contemporary World and has exhibited his work in Ireland and abroad. ‘Turais Taibhsí’ marks his second solo exhibition in Belfast, having exhibited ‘Vae Victis’ in Platform Arts in 2022.

Is ealaíontóir teibí í Anna Marie Savage atá lonnaithe in Ó Méith, Contae Lú, agus a bhfuil go leor gradam buaite aici. Bhain sí céim sa Mhínealaín amach ag Ollscoil Uladh, áit inar shaothraigh sí Céim le Céad Onóracha in 2009. Cuireadh saothar dá cuid ar taispeáint ar fud na hÉireann agus an RA, agus bronnadh go leor leor gradam agus sparánachtaí uirthi.

Scrúdaíonn na saothair is déanaí léi, Uisce Salach agus Dríodar, na héifeachtaí tubaisteacha a bhaineann le dumpáil breosla mídhleathach ar éiceachórais áitiúla. Trína hanailís mhionsonraithe ar shamplaí uisce truaillithe ó Abhainn Átha Féan, Co. Lú, cuireann Savage ar ár súile dúinn na géarchéimeanna comhshaoil seo, rud a spreagann feasacht agus gníomhaíocht. An comhoibriú s’aici le hOllscoil Leeds ar an togra seo, a chuimsíonn teorainn Mheicsiceo chomh maith, cuireann sé gné idirnáisiúnta le hiniúchadh Savage ar an díghrádú comhshaoil. In Uisce Salach agus Dríodar úsáideann sí an ealaín chun an eolaíocht, an éiceolaíocht agus an gníomhaíochas a tharraingt le chéile.

Anna Marie Savage is an award-winning abstract artist based in Omeath, Co. Louth. She is a Fine Art graduate of the University of Ulster, where she received a First-Class Honours Degree in 2009. She has exhibited widely throughout Ireland and the UK and has been the recipient of numerous awards and bursaries.

“Braithim gur mór an phribhléid dom agus cuireann sé bród orm an saothar seo a chur ar taispeáint sa Chultúrlann. Mar dhuine a bhfuil grá agam don Ghaeilge agus a bhfuil muinín agam aisti, mothaím go bhfuil sé thar a bheith cuí taispeántas a chur i láthair in áit a ndéanann ár gcultúr agus ár n-oidhreacht a cheiliúradh. Tá na pictiúir seo fréamhaithe i dtalamh agus in uisce an oileáin seo – sin an áit is dual dóibh.” – Anna Marie Savage

Her latest body of work, Uisce Salach and Dríodar, explore the devastating effects of the illicit fuel industry and the dumping of its byproducts on local ecosystems. Through her meticulous collection and analysis of polluted water samples from the River Fane, Co. Louth Savage brings a visual language to these environmental crises, inspiring awareness and action. Savage’s collaboration with Leeds University on this project, which also spans the Mexican border, marks an international dimension to her inquiry into environmental degradation. Through Uisce Salach and Dríodar, she uses art to bridge science, ecology, and activism.

“I feel very privileged and proud to show this work at An Chultúrlann. As someone who loves and believes in the Irish language, exhibiting in a space that celebrates our culture and heritage feels incredibly fitting. These paintings are rooted in the land and water of this island—this is where they belong.” – Anna Marie Savage

Unfolding

MFA/MA in Fine Art Exhibition at the Large Sculpture Studio GF20, Limerick School of Art and Design

Limerick, Ireland – [21st of July 2025] – Unfolding is an exhibition featuring seven artists from the MFA/MA in Fine Art programme at Limerick School of Art and Design—TUS. It will take place at the Large Sculpture Studio, Clare St. Campus, from September 2nd to September 10th, 2025. The artists’ reception event will be held on September 9th at 5:30 PM.

In Unfolding, the act of slowly revealing is a sustained movement; an ongoing unfolding of form, thought, and relation that favours becoming over closure.

Through diverse media, the artists engage with themes that are intimate, political, embodied, and affective. Across the exhibition, material becomes a means of thinking: with memory, space, the body, and with the systems both visible and invisible, that shape lived experience. Unfolding becomes an epistemological gesture; an opening into ways of knowing that remain fluid, provisional, and situated.

Artists:

Marta Baptista – Sorcha Hassett – Marta Jagusiak – Brendan Roddy – Brian Twomey – Oliwia Alicja Woszczynska – Barry Wrafter

Lia Laimböck Origin series at City Assembly House in the Knight of Glin Room. Large scale paintings themed; Where do we come from, Who are we? Where do we go? The Arch of Life.

House on the Beach
Container
Featuring work by artist Nina McGowan, in collaboration with Trinity College Dublin, a recipient of the Creative Climate Action Fund, an initiative from the Creative Ireland Programme. Supported by Wexford County Council’s Climate Action and Culture Teams.

Friday 15th August – Friday 12th September, 2025
Wexford County Council, Carricklawn Wexford, Y35 WY93

Opening Event: Thursday 14th August, 6pm
Guest Speaker: Arts Consultant, Ruairí Ó Cuív

Container, an exhibition by visual artist Nina McGowan opens in County Hall on Thursday 14th August at 6pm. This exhibition, which explores our relationship to climate change, uses familiar, domestic objects transformed into a large-scale sculpture installation.

Over the past two years, Nina worked with Trinity College Dublin as part of “House on the Beach”, a Creative Ireland funded Creative Climate Action project. The exhibition is accompanied by a series of curated round-table talks at beaches throughout Wexford, on topics such as the circular economy, materials, nature-based solutions, and water quality; all very pertinent themes for the times that we live in.

The exhibition, Container, strives to make comprehensible the urgency to act in the face of the threat of the climate crisis. It comprises three sculptural pieces constructed from household objects on a monumental scale. The scale is intended to reflect the magnitude of the challenge we face. The medium conveys the weight of materialism and its contribution to climate change. While the treatment—each piece is charred to reveal a beautiful but dissonant charcoal surface—evokes a sense of what we stand to lose.
The thought-provoking sculptures lead us to question what we have accumulated in our own homes. What is inside our own wardrobes and our houses that we perhaps don’t use or need? All of these accumulations can be a burden and put pressure on the earth’s finite resources. In Ireland, we discard around 110,000 tonnes of textiles as waste every year, of which around 64,000 tonnes are discarded as household waste via kerbside collection, the majority being clothing.

A “House on the Beach” represents an aspiration and an ideal: someone might say they ultimately want to retire to ‘a house by the beach’. But the issue of global warming and the impact of coastal erosion is questioning our value system and whether the way of life we have become accustomed to is sustainable. How do we live, and what might we need to change and leave behind?

This is a work about loss and the prospect of losing not only the natural world but also cultural artefacts and practices. The range of furniture used within the exhibition reflects the architecture and evokes the aspirations of past generations. Yet these old items are not valued in today’s world.

Nina McGowan is a visual artist who has been working in the area of immersive sculptural installation for over 20 years. She is a climate activist and a world champion and world record holder in the growing sport of freediving. She is Ireland’s ambassador for the Captain Paul Watson Foundation, whose mission is to end the destruction of habitats and illegal killing of marine wildlife in our seas.
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Talks on the Tide
Running parallel to the exhibition, curated talks will examine different climate themes and explore the actions we can take together. Guest speakers include local artists and community groups with researchers and staff from Trinity College Dublin. These talks will be held on the beach as the tide approaches. All welcome to join the conversation with artist Nina McGowan, guest speakers and staff from Wexford County Council Climate Action team.

For further information about this project, email houseonthebeachwexford@gmail.com or visit https://www.tcd.ie/sustainability/events-listing/.

Athlone native Emer Gaffey presents “After the Peat” – A Reflection on the Changing Face of Ireland’s Bogs
Exhibition runs 28th August – 12th September at The Atrium, Athlone Civic Centre
Opening Reception: Thursday 28th August at 5.30pm to 7pm.

“Dermot Browne is an artist, curator, and mentor based in Cork, Ireland. With a practice rooted in visual culture, he brings over two decades of experience in curating, exhibiting, and mentoring artists across Ireland. Dermot is the founder of Crane Visual and One Space Culture CLG, initiatives focused on accessible, regenerative arts engagement.

Athlone-based artist Emer Gaffey returns with a powerful new exhibition entitled After the Peat, opening this August in the Atrium of Athlone Civic Centre. Rooted in the familiar yet transforming landscape of the midlands, the exhibition invites viewers to consider the evolving story of our local boglands—from once heavily worked extraction sites to fragile, biodiverse ecosystems in recovery.

Gaffey’s work, known for its meticulous detail and emotional resonance, captures the quiet transitions taking place in these rewilding environments. Through a series of vivid landscapes and observational studies. After the Peat documents the return of plant life and the subtle ecological shifts occurring as bogs are allowed to heal.

“Bogs are places of deep memory,” Gaffey says. “They carry our past, but now they also offer hope for the future—as carbon sinks, habitats, and sites of regeneration. This work explores that transformation.”

The exhibition opens with a public reception on Thursday 28th August at 5.30pm, where visitors can meet the artist and explore the works in person. Refreshments will be served.

After the Peat runs until Friday 12th September and is open to the public during Athlone Civic Centre opening hours. Admission is free.

The main program of the 27th International Festival of Multimedia Arts – IMAF 2025 is the presentation of artistic actions , live performances and video documentation , which will be held on August 30th to September 12th, 2025. The festival has traditionally been held for many years now in the SULUV gallery in Novi Sad. New performance to video RING A RING .. performed and documented at my studio July 2025

Featuring works by Ben Malcolmson, Erik Nuding, Frances Hennigan, Laura McMorrow and Penny McGovern.

8pm, 12th September 2025

Abbey Arts Centre, Ballyshannon, Co.Donegal.

I feel how my eye turns presents films that resonate with themes of discovery, verifiability and belief. The title, drawn from a poem by surrealist artist Meret Oppenheim, gestures toward shifting ways of seeing. These works explore realities and stagings of various kinds through documentary, performance and the mediated image. We invite you to consider these different constructions, how do they turn your eye?

We hope to offer space for conversation and reflection on the breadth of moving image practice in the North West today.

Running time: 31 minutes with a post-screening Q&A

*Free Admission* – Reserve your ticket at this link: https://www.screenservice.ie/

Curated and produced by Screen Service in partnership with The Abbey Arts Centre, Ballyshannon, Donegal.

Supported by Creative Ireland and Donegal County Council 2025.
This opportunity is made available through Creative Ireland’s Creative Communities Programme, which is supported by the Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media and Donegal County Council.

Poster designed by Cian Pawle-Bates featuring a still from ‘Looking for Sam’ by Erik Nuding, 2024.

Exhibition continues from the 11th of July to the 12th of September 2025

To quote our president Michael D. Higgins, “Padraic Reaney’s work recalls the promise and the threat of the paradox that forms the root of all culture. We are as physical beings finite but gifted or cursed with infinite imagination. The attempt at resolution of the paradox has given us art and artists.

Padraic Reaney is a prolific practitioner and has been since the start of his artistic career. His back catalogue is immense and An Gailearaí is both happy and honoured to show a selection of his oeuvre. Padriac’s practice encompasses painting, printing and sculpture and is a truly adept draughtsman.

Born in Cheathrú Rua, Co Galway in 1952, Padraic studied Fine Art at the Galway Regional Technical College, where he was taught by sculptor Oisín Kelly, and has exhibited continuously since the 1970’s. He has exhibited extensively in Ireland, Scotland and Wales and his work is in numerous public and private collections. In 2020 Padraic was invited to represent Ireland at the Intercontinental Art Exhibitions “United Nations-symbol of life, freedom and happiness”, a celebratory exhibition to mark 75 th Anniversary of the UN.

Padraic Reaney has been an active participant within the artistic activities around county Galway; he sat on the board on the Galway Arts Centre 1996 – 99, he was a founder member of Western Artists Island Connection and the Drimcong Press, he was awarded the Pádraic Mac Con Midhe Prize at the Oireachtas 1979, The Galway Arts Centre presented a mid-career retrospective 1973 – 1993 that toured to six counties, he exhibited a series of photographs based on this work of the ruined cottages in Ros an Mhíl (1979-1983) at the Galway City Museum, July-October 2008.

Padraic Reaney’s sculptures exist equally as strong along side his paintings and graphics and are held in many public and private collections. He has completed numerous public commissions, notably the Liam Ó Flaherty Commemorative Garden on Inis Mór which he designed as well as the bronze sculpture therein. In 2007 he completed the ‘Diarmaid and Grainne’ bronze piece for Lawrencetown commissioned by Galway County Council and also in 2007 he designed the Paddy Ryan Memorial Medal. In 2011 three stained glass windows, Teach Pobail Leitir Móir, Co. Galway.

Opening times :
Monday, Tuesday, Thursday & Friday: 11am-5pm
Wednesdays: 1pm-8pm,

Creative Coffee is a monthly event for artists interested in connecting with others, in a relaxed and welcoming space. Artists of all disciplines and interests are invited to attend. In September, our special guest is Jennifer Cunningham. Jennifer is a visual artist who works with a wide range of different media including painting, printmaking and drawing, film and digital media. She regularly works to commission and her work is highly sought after. Jennifer has won many awards for her work and her work is in collections all over the world. Local creatives are invited to gather and get inspired! In these challenging times, Creative Coffee aims to give artists a chance to re-energise amongst their peers. All welcome.

Exhibition Dates: 27.06.25 – 13.09.25
Launch Event: Friday, June 27th from 6pm

Exhibiting Artists: David Beattie, Ala Buisir, Cecilia Bullo, Pauline Cummins, Lauren Kelly, Maria McKinney, and Fiona Whelan

Together in Commune, is the first exhibition of Rua Red’s Studio Programme, curated by Marysia Wieckiewicz and featuring work by Rua Red’s current resident studio artists: David Beattie, Ala Buisir, Cecilia Bullo, Pauline Cummins, Lauren Kelly, Maria McKinney, and Fiona Whelan.

This exhibition marks an important moment for Rua Red, highlighting the depth and breadth of the practices nurtured and supported within these walls. Working closely with the curator in the months leading up to the exhibition, each artist presents work that reflects their individual practice, while collectively exploring themes central to socially engaged contemporary art.

Rua Red’s Studio Programme, awarded through panel selection for a period of one to three years, is a core pillar of the organisation’s mission; to support artists at every stage of their career. The studios at Rua Red provide artists with time, space, and a supportive community that encourages sustained and critical artistic practice. In turn, the presence of these artists in the building fundamentally shapes Rua Red as a centre for enquiry and experimentation. Their work contributes to a vibrant and evolving ecology of ideas that extends beyond the studio walls, enriching both the organisation and the wider cultural landscape of South Dublin County and beyond.

Love is blindly reaching out rhizoids and anchoring them to a rock is the newest manifestation of the world of Xenophon, a collaborative world-building project by McGibbon O’Lynn.

Rooted in the fictional world of the Xenothorpians – a fluid species mutating across vegetal, human, and ecological entanglement – the exhibition activates a multispecies romance beyond the species and the sexual. The project expands ideas of intimacy and relations through flings, courtships, longings, and liaisons with the garden.

The artistic duo consider how the gamification of dating has shaped how humans relate to one another, from 1960s TV shows like The Dating Game to 1990s board games like Dream Phone, and today’s swipe-based apps like Tinder and Bumble. These formats reduce love to strategy, speed, and surface, often reinforcing transactional and disposable dynamics. This exhibition responds to that shift, questioning what we lose when intimacy becomes a game. it proposes a radical reimagining of connection – towards a more expansive, inclusive, and multispecies form of love and relationality.

The audience is invited into this multispecies dating game through ritual, material, and speculative storytelling. The project asks: what new intimacies arise when we love without species’ boundaries?

Maeve O’Lynn is a writer, filmmaker and researcher based in Belfast. Siobhán McGibbon is a visual artist and researcher based in Cork. They began world-building together as McGibbon O’Lynn in 2015.

This project is supported by the National Lottery through the Arts Council of Northern Ireland, Derry City & Strabane District Council and Cork County Council.

For more information visit CCADLD.org/exhibitions

Exhibition continues : 23rd August – 13th September 2025.

The BACA Collective was funded by a group Atlantic Technological University graduates who share a commitment to exploration, discovery, and artistic expression.

Originating within the BA in Contemporary Art program, the collective continues to evolve, engaging in a dynamic investigation of contemporary art and its ever-changing dialogues. The artists within the collective have been recognized with a vast range of opportunities and awards, including residencies, funding awards, and participation in notable group and solo exhibitions and have exhibited in several galleries including 126 Art Gallery, ATU Galway Campus, Outset Gallery, Reynolds Gallery, Portershed and more.

Through this collective effort, they present a synthesis of developed and original ideas, reflecting the richness of artistic inquiry and shared expression.

BACA are:

Elisabeth Banim – Annette Colleran – Hannah Daly – Cecilia Daniels – Jessie Gilburd – Bernie Joyce – Charlotte Moran – Jessica Mulas – Aimee O’Brien

Exhibition continues from the 6th of September to the 13th of September 2025

Beasts of the Modern Age — Exhibition Launch
Áras Na nGael | Sept 6, 2–4pm | Open daily 10–5
Red Bird Youth Collective presents Beasts of the Modern Age, where Irish myths are reimagined through poetry, art, and storytelling. Guided by artists Taim Haimet & Jojo Hynes, and coordinated by Soňa Šmédková, young voices revive guardians of land, sea & sky echoing themes of nature, memory & imagination. From forest warnings to ocean spirits, their work captures wonder & fragility. Join us to celebrate creativity and the voices of a new generation.

You are invited to PROTOTYPE, the first-ever graduate exhibition for Trinity College Dublin’s new MPhil in Digital Arts and Intermedia Practices.

Presenting the independent research projects of students in the M.Phil. Class of 2025, PROTOTYPE is a showcase of innovative new works at the cutting edge of contemporary art and emerging digital technologies.

Opening Reception: Thursday 11/9, 18:00-20:00

Exhibition
Thursday 11/9 12:00-18:00 (Appointment Only)
Friday 12/9 12:00-18:00
Saturday 13/9 12:00-18:00

Visit The Douglas Hyde’s Summer exhibitions:
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Mohammed Sami ‘To Whom It May Concern’⁠
Gallery 1⁠
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The Artist’s Eye: Bas Jan Ader⁠
Gallery 2⁠
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13 June – 14 September 2025 ⁠

Mohammed Sami has gained recognition for his charged paintings exploring memory, conflict and loss through the familiar made strange. His first solo exhibition in Ireland brings together a group of major new canvases alongside a selection of works made over the last five years. He is one of four artists shortlisted for this year’s Turner Prize.⁠
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Working directly onto canvas with brushes, pallet knives and spray paint, Sami creates textures, surfaces and details building the composition as a whole. Mining personal experiences to ground his work and influenced by Arabic literature and poetry, Sami replaces images of trauma with oblique references to loss or conflict. Although absent of the human form, the settings, everyday objects, and shadows, in his paintings convey traces of human presence. He uses medium, scale, and title, each cultivating the other to create charged and haunting works.⁠
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Acknowledging the crucial role artists play in influencing and shaping other artistic practices, ‘The Artist’s Eye’ series asks those exhibiting in Gallery 1 to invite an artist of influence to present work in Gallery 2. In this instalment Mohammed Sami has selected the work of artist Bas Jan Ader entitled ‘I’m Too Sad To Tell You’ (1971) to be presented.⁠
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Visit The Douglas Hyde on Wednesday – Sunday 12pm – 5pm, Thursday 12pm – 6pm.

The Fresh to the Salt is a two-person exhibition by visual artists Angie Shanahan & Bridget Flannery (posthumously 1959 – 2024) which will be shown in the main gallery space. The exhibition consists of drawings and paintings responding to the artists’ engagement with coastal and riverine landscapes through drawing, sketch booking and mapping. History, placenames and local studies also feed into their preoccupation with the sense of place.

Angie Shanahan’s current practice involves landscape impacted by human presence usually set within a specific water defined place, the coast. She has had numerous solo exhibitions and has participated in numerous group shows nationwide.

During her lifetime, Bridget Flannery’s work was mainly focused on painting and drawing. She consistently exhibited in solo and group shows in Ireland and Europe. Her work is held in public and private collections nationally and internationally.

Please join us on the evening of Thursday 21 August 2025, 6-8pm, opening remarks by Anne Hodge, National Gallery of Ireland and Katriona Gillespie, manager of the Custom House Studios + Gallery.
This exhibition is supported by the Arts Council of Ireland and Mayo County Council.

False Kingdoms a solo exhibition presented by Kaye Maahs will be shown in the upstairs gallery space. Maahs’ practice is devoted to the pursuit of painting. With the aid of photography, she documents moments, places and environments. Images are utilised as navigation props for assistance when she paints.
Maahs’ has held numerous solo exhibitions and has participated in multiple group shows nationally. Award. She has won many awards including the Thomas Dammann Junior Memorial Trust Award and the Hunt Museums Curator’s Choice award.

Please join us on the evening of Thursday 21 August 2025, 6-8pm, opening remarks by Anne Hodge, National Gallery of Ireland and Katriona Gillespie, manager of the Custom House Studios + Gallery.
This exhibition is supported by the Arts Council of Ireland and Mayo County Council.

Signal Arts Centre is thrilled to present Moments of Joy, the debut solo exhibition of Wicklow-based painter Heather Flynn, running from September 1 to 14, 2025.
The exhibition will officially open with a reception on Friday, September 5, from 7–9pm, and all are warmly invited to join this special celebration of art, colour, and community.
Already well-known to the Signal Arts Centre family as Communications Officer, Heather has long championed the creativity of others. Now, stepping into the spotlight herself, she shares her own artistic voice in this much-anticipated first solo show.
Heather’s oil paintings are inspired by the wild beauty of Wicklow’s landscapes, where sea, sky, and earth merge in endless transformation. Her expressive brushwork, bold use of colour, and layered textures capture the fleeting rhythms of nature — from the hush of dawn to the glow of evening. Striking a vibrant balance between abstraction and landscape, her work invites viewers to lose themselves in colour, memory, and atmosphere.
Moments of Joy is more than a collection of paintings; it is an invitation to pause, to reflect, and to celebrate the radiance of everyday beauty. Heather’s art is filled with movement, emotion, and a sense of wonder — a vivid reminder of how nature and creativity connect us all.

Earth Rising Festival 2025

Join us for Earth Rising 2025, a vibrant free festival of art, ecology, and ideas. Running from 12 to 14 September, this year’s festival is inspired by Staying with the Trouble, IMMA’s major group exhibition based on Donna Haraway’s influential text. From radical talks to joyful workshops, restorative installations to grassroots action, Earth Rising 2025 features over 50 free events designed to inspire, connect, and activate. Explore the programme – Art, Talks, Music, Screenings, Workshops and Tours & Activities – in the below panels.

IMMA is also thrilled to share that it has officially signed up to Culture Declares Emergency, becoming the first major cultural institution in Ireland to do so. This global movement calls on the cultural sector to respond to the climate and ecological crisis.

The festival opening hours are Fri 12 Sept from 5pm to 9pm; Sat 13 and Sun 14 Sept from 10am to 7pm. Full programme details and booking links are available at the link below. Some events require advance booking. All events are free admission.

Follow us on Instagram, Facebook, TikTok for updates. We look forward to welcoming you to Earth Rising, bring your curiosity!

Opening reception Thursday 11th September. 6pm. Exhibition Fri 12th – Weds 17th September. 12 – 5.30pm. Closed Sunday/Monday. Dublin based artist, Glenn Matthews showcases a selection of his Pop Art portraits at a solo exhibition at Red’s Gallery Dublin in September.

For more information please contact marginman1@gmail.com

– Opening Times: Thursday 7 August to Friday 19 September, 11.30am to 5.30pm
– Open daily for Kilkenny Arts Festival, then Thursday to Saturday weekly

‘beyond, beneath, Beside’ explores the site of the Tea Houses and their proximity to the River Nore and its nearby tributary the River Breaghagh. During her residency, artist Kate Fahey investigated the locale, including Talbot’s Inch model arts and crafts village, the former Greenvale Woollen Mills, and engaged with the rich subterranean, cultural and industrial history associated with the rivers, including the great flood in 1947.

Drawing on materials, forms and motifs relevant to the historical arts and crafts revival in Kilkenny, the installation positions the neighbouring River Breaghagh (translates as the deceitful river) as a swirling, twisting and uneasy presence, a trickster figure, liable to rise and surge unpredictably. Situating tactile encounters with the material world at the centre of this inquiry, the exhibition poetically echoes a sense of networked and interconnected resonances across time and space, situated beyond, beneath and beside the riverbank.

Curated by Rachel Botha.
Design by Emmet Brown.

Kate Fahey is an artist based between Kilkenny and London, working with sound, sculpture, moving image, print and installation. She has shown her work at spaces including the ICA London, VISUAL Carlow, the Bluecoat Liverpool, the CCArt Andratx, Arti et Amicitiae Amsterdam and Pallas Projects Dublin. She received an MA in Fine Art Print at the Royal College of Art, London and completed a practice-based PhD at the University of the Arts London in 2020. She is a senior lecturer in Fine Art at Oxford Brookes University.

The Tea Houses are situated by the River Nore in Kilkenny city centre and have been acquired by Kilkenny Arts Office to host an art programme that encourages a sense of community and active citizenship.

Kindly supported by Kilkenny Arts Office, Kilkenny County Council, ArtLinks and Arts Council, Ireland.

Alan Butler
Mary FitzGerald
Damien Flood
Mark Joyce
Sorcha McNamara
Bridget Riley
Oisín Tozer

Exhibition dates : 1 August – 19 September 2025
Opening reception : Thursday 31 July 2025 5-8 pm

Earthly Delights is in the title of Hieronymous Bosch’s early 16th Century triptych The Garden of Eathly Delights. This painting charts the Creation, the Birth and Fall of man and woman. It was painted in The Netherlands in the 1490s or early 1500s. It is currently in the Museo del Prado, Madrid. It has captivated audiences and artists since that time, including some Irish artists and one or two in this show.

The Garden theme is also continued in Green On Red Gallery’s summer Earthly Delights exhibition looking at artists whose work looks at life and death and society, not to mention a world in crisis.

Craig Jefferson is a Scottish born artist now living in Bangor, Northern Ireland with his wife and three children. He began his creative career at Leith School of Art, Edinburgh, in 2002 and continued his studies at Edinburgh College of Art where he graduated with an Honours degree in Drawing and Painting.

Craig is currently represented by the Stafford Gallery in London and the Contemporary Six Gallery in Manchester. As a member of the New English Art Club, he exhibits annually at the Mall Galleries and with associated galleries across the UK. He has taken part in several Academy group shows in the UK and Ireland and had work included in prestigious prize exhibitions such as the Columbia Threadneedle Prize and the Lynn-Painter Stainers Prize. His work features in private collections in Europe and the United States.

Craig was one of our first Studio Members at Seacourt, where he has a space overlooking Central Avenue on the second floor. Since being here he has immersed himself in printmaking focusing on screen printing, mono print and tetra pak collographs.

This exhibition will be the first time Craig has shown prints alongside his paintings. The cross pollination of these processes has brought a freshness to the artist’s approach and application as he comments,

“Engagement in printmaking has had a huge effect on how I paint. It’s a whole new way of thinking. A new realm of ideas and possibilities has been opened to me.”

Come and see Craig’s work in person on the opening night of this show – Thursday 31st July 6-9pm. Exhibition continues until the 19th September.

Opening – Saturday 30 August 2025
With a music performance by the artist at 2.45pm

Open – Tuesday-Saturday, 11am-5pm

‘Singing Threads: Songs and Stories of Ulster’s Mill Life’ features textile artist and musician Eimear Magee. It presents a new iteration of her graduate collection, an innovative body of work that combines contemporary textile art, traditional music and storytelling to honour the resilience of mill workers, transforming their lived experiences into rich, emotive art. Through this work, the artist creates a “living archive” that not only revisits and revives tradition, but invites reflection on community strength and cultural continuity.

About the artist
Eimear Magee is an emerging textile artist and traditional musician whose practice is a fusion of tradition and innovation, drawing inspiration from the rich tapestry of Irish traditional music, storytelling, and community engagement. A recent graduate of Ulster University’s Textile Art, Design, and Fashion programme, her work draws on the stories, songs, and rhythms of Ulster’s linen industry.

Exhibition supported by
‘Singing Threads’ is supported by the National Lottery through the Arts Council of Northern Ireland (principal funder). The exhibition is part of the Linen Biennale, a festival celebrating linen, past, present and future, with initiatives across Northern Ireland by R-Space and other partner organisations. The Esmé Mitchell Trust supported R-Space’s work for this festival. https://www.linenbiennalenorthernireland.com

Exhibition continues from the 14th of August to the 19th of September 2025

Featuring three 5.4m towers from discarded wardrobes—antique mahogany to mid-20th-century chipboard. Once bedroom sentinels, they mirror human scale amid capitalist decay & ecological loss. Charred, their graphite sheen reveals pre-industrial carbon, a silvery breath from past forests, hinting at immortality. From cave charcoal to quantum tech, this graphite, a communication tool, sparks hope via cross-disciplinary dialogue against the ecological abyss. With eco-gothic tones—from toppled dolmens to Space Odyssey monoliths—they evoke a haunting legacy of neglect through architectural resonance.

An exhibition from Crawford Art Gallery Collection selected by Salt & Pepper LGBTQI+ Art Collective with Toma McCullim

Uillinn: West Cork Arts Centre – alongside the Salt & Pepper group (West Cork’s elder LGBTQI+ arts collective) – has partnered with artist Toma McCullim to curate an invigorating exhibition for summer 2025. Titled Grá, this exhibition celebrates love in all its forms and draws from the collection of Crawford Art Gallery. Accompanying this curated selection are responses to individual artworks in the exhibition made by artists from the Salt & Pepper Collective.

While this National Cultural Institution is closed for its major redevelopment – Transforming Crawford Art Gallery – the opportunity arose to share parts of its collection with other organisations across the island of Ireland to create meaningful encounters for the public. With the guidance of Dr. Michael Waldron Curator of Collections and Special Projects at Crawford Art Gallery, Salt & Pepper has explored the collection to shape a diverse, inclusive showcase for Uillinn, accompanied by a rich programme of talks, tours, workshops, and events.

Grá features key works from the 20th and 21st centuries, including the iconic Portrait of Fiona Shaw (2002) by Victoria Russell, The Red Rose (1923) by John Lavery, and Patrick Hennessy’s Self Portrait and Cat (1978), as well as Paul La Rocque’s In Her Own Garden (1998) and the photographic series Hi, Vis (2020-21) by Dragana Jurišić. The exhibition also includes works by, among others, Sara Baume, Margaret Clarke, Tom Climent, Gerard Dillon, Stephen Doyle, Mainie Jellett, Harry Kernoff, Janet Mullarney, Isabel Nolan, John Rainey, Patrick Scott, Edith Somerville, Niamh Swanton, and Mary Swanzy.

A highlight of the exhibition is the formation of the Grá Choir led by singer-songwriter Liz Clark in collaboration with Salt & Pepper. The choir will perform Beloved, a choral piece and a moving tribute to enduring love, composed by Carol Nelson for her wife Deborah, at the opening of the Grá exhibition. A further performance will take place in St. Barrahane’s Church, Castletownshend later in the summer.

Developed through a series of workshops by West Cork Rainbow Families in collaboration with Toma McCullim, the Grá Discovery Box will be available throughout the exhibition. It invites families to explore the exhibition together, encouraging interaction with the artwork and offering insights into the artists’ creative processes. It’s free to use, and no booking is required.

Developed and facilitated by artist Toma McCullim and health professional Sarah Cairns, In the Picture, le Grá is a dementia-friendly gallery programme thoughtfully designed for small groups. Participants are given time to explore the space and artwork at their own pace, with light refreshments included to support a relaxed and welcoming atmosphere.

Film screenings include a short film programme curated by Kai Fiáin reflecting the exhibition’s themes of intimacy, resistance and renewal on Saturday 23 August at 7.00pm; Aideen Barry’s Not to be Known (single channel film, 5.5 mins, Crawford Collection) on Friday 1 August from 10.00am to 4.30pm and Clare Langan’s The Heart of a Tree (HD digital film, 12 mins, Crawford Collection) on Saturday 23 August, 10.00am to 3.30pm.

Grá Gallery Talk and Tours with Dr. Michael Waldron will take place on Thursday 24 July at 1.00pm and Thursday 18 September at 1.00pm, free event, no booking necessary.

For further information on these and other events please see our web and social media channels.

Image: Paul La Rocque, In Her Own Garden. Collection Crawford Art Gallery, Cork. © the artist

For the first time in over thirty years, the powerful and deeply personal work of Dutch photographer Frits de Ridder (1954–1994) will be showcased in an exhibition, opening on August 7, 2025, at Belfast Exposed. Frits de Ridder: Staring at the Sun presents an unflinching portrait of life, illness, and resistance during the height of the HIV/AIDS epidemic. This landmark exhibition, realised with the full support of de Ridder’s family and unprecedented access to his archive, marks the first public presentation of his photographic estate since his passing. Curated by José Neves, the exhibition draws from the extensive collection of De Ridder’s work held by the International Institute of Social History (IISH/IISG) in Amsterdam. De Ridder’s work provides a powerful visual documentation of his experience living with HIV/AIDS, while also reflecting the broader struggle for dignity, visibility, and justice that characterised the experiences of those affected by the virus in the late 1980s and early 1990s. His photographs depict a period marked by stigma and fear, but also by resilience and political awakening. By opening his previously unseen archive to the public, the exhibition seeks to encourage reflection, activism, and collective remembrance. Moreover, it places de Ridder’s legacy in a current context, as the aim of eliminating new HIV transmissions by 2030 remains achievable but increasingly at risk.

To be Opened by Niamh Flanagan, Artist, Master Printer and Program Coordinator at Graphic Studio Dublin
On Wednesday 11th June 2025 at 7pm

Navigating Space is a solo exhibition by Maria Atanacković. Bringing together works on paper, wood, and linen, the exhibition explores the construction of space through assemblage and printmaking.

Atanacković’s practice is grounded in the process of breaking down and rebuilding form, using geometric shapes, layering, and composition to investigate the balance between structure and spontaneity.

This new body of work reflects her ongoing exploration of spatial relationships. Through bold, graphic elements and carefully considered arrangements, she creates abstract compositions that echo the ways we navigate our surroundings – both physically and emotionally. Some works have a precise, architectural quality, while others evolve through a more intuitive process, where forms emerge, shift, and settle into place.

Atanacković’s interest in space extends beyond the visible, delving into the underlying frameworks that shape our sense of place and belonging. She is particularly drawn to the tension between familiarity and displacement, and how we create connections within unfamiliar environments. Navigating Space considers these ideas through material and form, inviting the viewer to engage with the work as a process of movement and discovery.

Navigating Space by Maria Atanacković will be accompanied by a programme of engagement for young people, including a response space in our First Floor Gallery.

Mairead O’hEocha; Extra Alphabets
Sat. 5 Jul. – Sat. 20 Sep. 2025
Curated by Michael Hill

Mairead O’hEocha’s recent paintings cast an array of extraordinary and everyday tabletop scenes that float in and out from the facts and furnishings of their surrounds: birds invade a garden lunch, an octopus coils its tentacles in a trophy room, a fake loaf of bread sits solemnly at the tenement museum; a blizzard is observed from the comfort of a home workspace.

O’hEocha’s paintings consolidate a variety of recurring themes: how to depict ‘the natural world’ and our relationship with it, sensory encounters and digital space. Extra Alphabets is the largest gathering of O’hEocha’s work in an exhibition to date. The focus is on a group of new large-scale oil paintings, with a number of unseen works, plus a selection from international exhibitions, adding to this overview of the artist’s practice. The exhibition also includes painted interventions that charge the gallery’s walls, bringing O’hEocha’s work into close conversation with The Model’s unique architecture. These painted elements play with the perimeters of the exhibition space, so the cabinets, windows, animals, glass objects, tables and their horizon lines – O’hEocha’s register of motifs – expand, absorb and reflect her approach to painting, and its forms of display.\

Artist Talk
Sat. 5 Jul. 3pm

At the opening of the exhibition Ben Eastham will talk to Mairead O’hEocha about her work.

Ben Eastham is a writer and editor based in Rome and London. He is editor-in-chief of e-flux Criticism and co-founder of The White Review. His second book, The Imaginary Museum, was published in September 2020; his debut novel, The Floating World, is forthcoming with Fitzcarraldo Editions.

For the first time in over thirty years, the powerful and deeply personal work of Dutch photographer Frits de Ridder (1954–1994) will be showcased in an exhibition, opening on August 7, 2025, at Belfast Exposed. Frits de Ridder: Staring at the Sun presents an unflinching portrait of life, illness, and resistance during the height of the HIV/AIDS epidemic.

This landmark exhibition, realised with the full support of de Ridder’s family and unprecedented access to his archive, marks the first public presentation of his photographic estate since his passing. Curated by José Neves, the exhibition draws from the extensive collection of De Ridder’s work held by the International Institute of Social History (IISH/IISG) in Amsterdam.

De Ridder’s work provides a powerful visual documentation of his experience living with HIV/AIDS, while also reflecting the broader struggle for dignity, visibility, and justice that characterised the experiences of those affected by the virus in the late 1980s and early 1990s. His photographs depict a period marked by stigma and fear, but also by resilience and political awakening. By opening his previously unseen archive to the public, the exhibition seeks to encourage reflection, activism, and collective remembrance. Moreover, it places de Ridder’s legacy in a current context, as the aim of eliminating new HIV transmissions by 2030 remains achievable but increasingly at risk.

Exhibition continues 15th August – 20th September 2025. 
Mary Cullen-Kelly presents Carousel.
15th August – 20th September at Dunamaise Arts Centre.
Free to visit during opening hours, and 1 hour prior events (Tues to Sat, 1pm to 5pm).

Mary Cullen Kelly likes to time travel using paint, print and collage. Her colourful and detailed images can feel all at once familiar and strange. She creates moments and places that may or may not have existed. She is interested in and has studied the experience of Flow Theory in relation to art making.

Mary was awarded this solo exhibition as a prize from our Open Submission Show 2024 by Guest Selector Vera Klute, RHA.

About the Artist
Mary is an artist from Dublin who lives in Carlow. She has a degree in Fine Art Print from NCAD and an MSc in Disability Studies from UCD, which focussed on the experience of engagement in arts activities, for which she won the Eunice Kennedy Shriver medal. She has previously exhibited in VISUAL Carlow and extensively in group and open submission shows, including the RHA Annual. Mary has been involved in community arts in Dublin and Carlow. See more on www.marycullenkelly.com

The exhibition title references the TV series MadMen; there the ‘carousel’ is a Kodak slide projector that ‘moves the viewer forwards and backwards’ in time.
This series of paintings, prints and objects seek to describe a world that can feel familiar and strange all at the same time. Things are always changing. The artist draws on science fiction movies from the 50s and 60s. Colourful paintings of domestic and ‘small town’ settings draw us in with a whiff of nostalgia, a sense of the familiar which is subverted as things are not quite as expected. Photopolymer prints and made objects offer clues that the world we are in has been altered. Flora and other items have appeared nearby. Questions are posed but not answered. The world has changed and we are not quite sure where we are.